JOHN ROCHA celebrated 25 years at London Fashion Week with an outstanding autumn/winter collection this weekend which, with its use of shearling, leather and hand- knitting, referenced his first in innovative, modern ways.
Many of the ideas for the shapes and styling grew, he said, from his many fishing trips to South America and the dress of the Patagonian gauchos.
It showed in the flared, raw- edged skirts and tight little waistcoats in black or white felted wool and in the refined mix of embroidery, silver Lurex and brocade patchworked on to shapely black jackets. Towering headdresses of shredded silk and tights holed at the knee gave everything, even the romantic ruffled dresses, a certain rickety grandeur.
The menswear’s rugged layering – suits with sheepskin aprons worn back to front, leather waistcoats over wool greatcoats – was equally assured and it was given a dandyish touch with distorted black homburgs and lace-up boots.
For one who arrived in London in 1971 from Hong Kong aged 18 with £13 in his pocket, this London season marks a high point in Rocha’s career. His new crystal collection for Waterford has just launched in Germany, to be followed in London in March and New York in April. His London shop flourishes, he remains one of Debenham’s top- selling designers and he celebrated on Saturday night with a party in Claridges for staff, family and friends.
"After 25 years unless you still have something to say there is not much point in hanging in there," he told The Irish Times.
“Every season you have to do better and there is so much talent around that you are really challenging yourself all the time. It’s been a long road and the Rochas never take anything for granted.
“I am good at balance. I have a good eye. The rest is hard work. I couldn’t ask for more now.”
Elsewhere at the weekend saw one of London’s steadily rising stars Greek-born designer Mary Katrantzou known for vibrant digital prints and fluid shapes send out another stellar collection. For autumn/winter she drew on 18th-century portraiture and painters like Fragonard with the idea of transferring period imagery on to 21st-century women’s clothing.
Such a blend of colours and motifs made a great visual impact that was never overwhelming and always feminine and interesting. Images of details like jewels, tassels, lace and medals merged together on her signature shift shapes as well as on cutaway jackets, trim waistcoats and ruched chiffon and lame dresses.
The same period was also the focus of a romantic collection from Kinder Aggugini though appropriated in a very different way. This young Italian took Madame Recamier as a reference point for a collection of precision tailored military style jackets counterpointed with stately black empire line gowns.
Looking to the past in modern ways was an idea explored by many other designers over the weekend. Two collections, one from Margaret Howell, a seasoned presence in London fashion week and the other from Topshop’s Unique both drew from traditional English sporting dress, but in strikingly different ways.
Howell’s well-mannered garconne takes on menswear like duffel coat, sheepskin jackets or cord trousers saw her return to familiar areas of concentration. A grey shirt dress with a perfect red cardigan, a tweed greatcoat anchored with a slim leather belt and a slouchy pair of pinstriped trousers had her usual polish.
Unique, on the other hand, took a romp in the great outdoors, sending up functional outerwear like leather parkas, waxed jackets and trench coats and giving them the spit of urban street wear. If the hair was wild, so were the big fat fake furs, the khaki tweeds with harnesses and the cable knit leggings. It was cheeky and fun.